The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto

Home , Campursari

International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx 1 The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto

Associate Professor at Postgraduate School, Indonesian Art Institute, Surakarta, Jl. Ki Hajar Dewantara No 19, Surakarta, Indonesia [email protected]

ARTICLE INFO ABSTRACT

This article discusses Campursari’s music, which has an increasingly Article history broad role, from profane to sacrilegious Islamic areas. Since its birth, Received this music serves as entertainment music. In the era of the 1990s and its Revised peak in the 2000s, this music entered and interacted with the Islamic Accepted community. The entry of Campursari music into the Islamic religious community is the embodiment of expectations and demands for environmental situations and conditions. Hopes and demands give birth Keywords to musical syncretism, which gives birth to adaptation strategies. Music syncretism Verstehen are appropriate methods for recognizing forms of adaptation Ritual event and syncretism. The choice of the verstehen method is because this Religious article does not merely highlight the problem of music, but also tries to Campursari understand the social actions of Campursari musicians in serving the Adaptation Muslim community via Campursari music. The choice of this approach is because musical adaptation stems from the idea that the birth of musicality has the support of a socially developed network of meanings. The benefit is to recognize the principles and rules of adaptive value and productive syncretism that occur behind music phenomena.

This is an open access article under the CC–BY-SA license.

1. Introduction In Central Java and its surrounding area, since the early 1990s has grown and developed a new musical genre called Campursari music. It is a hybrid music, mixture genres of gamelan music with other musical genres, such as keroncong, ndangdut, and pop. In essence, the creation of Campursari music refers to a mixture of several other music genres today. The collaboration between keroncong musicians from Radio Republik Indonesia (RRI) Semarang and gamelan musicians at URIL KODAM IV Diponegoro1 in post-1965 was the origin of the birth of this music genre (Setiono, 2003, p. 209). There is an oral source that states that the birth of Campursari began with a collaboration between a group of gamelan musicians called Riris Raras Irama Surakarta led by Cipto Suwarso with a group of keroncong musicians named Radio Orkes Surakarta from RRI Surakarta in the 1970s. The collaboration took place in order to fill the live broadcast on Radio Republik Indonesia Surakarta. In the broadcast, they jointly use their respective instruments to present and work on the song Kembang Kacang. They jointly play and present this song using mixed instruments, between gamelan and keroncong musical instruments (Samekta, 2001; Wakijo, 1996). Since the collaboration in the 1970s, the term Campursari has become famous, to express the existence of music creations that combine elements of music, and produce musical creations that contain many of the essences of music. Unfortunately, this event leaves no trace that can be used as data to explain its meaning. This program only has oral testimonies from people involved in gamelan music.

1 The nomenclature of KODAM IV Diponegoro in post 1965 (1970’s) is KODAM VII Diponegoro. http://pubs2.ascee.org/index.php/viperarts [email protected] 2 International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx

In the 1970s and 1990s, after collaborating on Kembang Kacang songs, people in Central Java still remembered the term Campursari, and it is meaning, but this term was not very popular. At that time, there was no creative activity that produced music like the phenomenon of Campursari music creation. Although the broader community understands the meaning of the term of Campursari, creativity related to the existence of Campursari music did not grow. In 1990 until now, this music was overgrowing, and the wider community accepted it with joy. The development, the form of Campursari music today, is different from the form of Campursari in the 1970s. If in the 1970s, Campursari music was a mixture of gamelan and keroncong instruments only, in the 1990s, Campursari was a mixture of gamelan instruments with various electronic instruments, drum sets, and Sundanese drums. Since the 1990s, Campursari music has become popular music that has adopted various musical techniques and aesthetic formats from various genres. Its position as popular music only exists for entertainment purposes. Wherever and whenever the presence of Campursari music is as entertainment. In the early 2000s, there was an exciting development of this music since increasing its function. Campursari’s music, in the beginning, was only for entertainment, then it added functions for ritual and pengajian2. Rituals are specific and religious activities to express attitudes symbolically. Spiritual beliefs and religious principles guide ritual activities. The ritual implementation follows the rules that have become a habit in the community. The increasing function of Campursari’s music for pengajian emphasizes a theory which states that adaptation is a manifestation of high awareness of the expectations and demands of environmental situations and conditions. In theory, adaptation is a method for finding comfortability (Macar, Pouthas, & Friedman, 1991, p. 110; Setyo Utami, 2015, p. 181). Adaptation and shifting functions have an impact on changing musical context and tendencies. The musicality is present selectively in a variety of musical variations, so it fits the situation and conditions. Disclosure of this problem uses an interpretive approach because musicality is a product of human thought in culture. Therefore, understanding will be better and more accurate by using the verstehen method because the roots of musicality are practical and useful ideas. That idea is the category element in music phenomena. The verstehen method is related to hermeneutics. This method serves to help the discovery of the meaning of phenomena related to the reality of music. Especially is the reality that is in the music category as an ideographic manifestation of the practical idea of music. In hermeneutics, categories exist as texts to serve the context, because the meaning of truth is the interaction between ideas and their intentions. Interpretation is the primary manifestation of the existence of human ideas. Interpretation is not an instrument but an essence. Analytical approaches will complement interpretive approaches that describe systemically related elements. This article will discuss the use of Campursari music in a ritual to strengthen the religious atmosphere. The presence of Campursari music in various ritual events and their application is a significant concern. Because, by revealing the presence of Campursari music in various ritual events, it will be clear how musical adaptations occur in the context of religious culture.

2. Ritual Events In Javanese culture, there are several types of rituals that become a means of gathering events. The event is for individual or social purposes. Events for individual purposes include walimahan3 or mantu, sunatan4, aqiqoh ceremonies. Events for social needs are pengajian5. The pengajian is an old culture that is still well embedded in the community.

2 The word “pengajian” comes from the word “aji,” which means “valuable.” The word “aji” gets the prefix “pe” and the suffix “an” so that when it becomes the word “pengajian,” it has a new meaning, which is to make people become aji, become valuable. So, the term pengajian is the activity of religious lectures to bring many people learning about the provisions, rules, and principles of life-based on religious teachings so that they become valuable people or a pious person. 3 Walimahan is a banquet held with respect to weddings. 4 Sunatan is circumcision receptions. 5 There are also other social events such as the political campaign, the commemoration of state holidays, anniversary of a city, district, or province, and village ceremony in the frame of earth charity.

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2.1. The Walimahan or Mantu Walimahan or walimatul ‘urs is a party that celebrates a marriage. The ceremony of walimahan is after the marriage contract. There is a powerful law of fiqh that recommends and encourages the necessity of walimahan. Guests should be pious people, both rich and poor. Another term that similar to walimahan is mantu. Both are weddings but in a different cultural context. Walimahan is an Islamic-based cultural context, while mantu is an event based on the Javanese culture context. In walimahan, there are no rituals or processions because it is only a matter of having fun, listening to music, and pengajian. The essence of walimahan is to be happy, to declare and announce to the public that the bride who was initially two people, each of whom is no longer single. Both have united in one marriage bond. In mantu, there is much activity of ritual or processional. Mantu is one part of the entire wedding procession. This part is the fifth stage of the entire marriage procession6. 2.2. The Sunatan Term sunatan has similarities meaning with term khitanan. Both terms mean circumcision7. The execution of the sunatan ceremony occurs when boys approach puberty. In carrying out the sunatan or khitanan ceremony, the Javanese have different customs. The practice of sunatan is customary with a Javanese cultural background, and there are also customs with a background in Islam. In Javanese culture, the order of the ceremony is blakêtépé, setting up the tarub, siraman, grês, and ending with a celebration party. The party invites relatives, neighbours, and friends of parents of circumcised children. In Islam, the practice of circumcision is more straightforward. There are only setting up the tarub, grês, and celebration parties, which invite relatives, neighbours, and friends from the parents of circumcised children. The difference is that the celebration of circumcision in Islamic culture includes speeches, music, and pêngajian. While circumcision in Javanese culture, there are only speeches and music, without pêngajian. 2.3. The Aqiqoh Aqiqoh is a sacrifice of goats in Islamic law. The meaning of aqiqoh is an expression of gratitude to Allah God Almighty for babies born. The function of aqiqoh is as a redeemer, to release a newborn baby from the genie shack that accompanies all babies. Concretely, aqiqoh means slaughtering a goat on the seventh day of the birth of a baby. Goat meat after being cooked becomes a dish to eat together at a party. In the middle of the party, there is a ritual of cutting hair for newborns. The party which contains the hair cutting ritual is mostly called aqiqoh. After the ritual of cutting hair, it is usually followed by music presentation and often with religious lectures.

3. Applied Campursari in Ritual Events In ritual events (walimahan, sunatan, and aqiqoh), there is always (1) welcoming guest, (2) speeches, and (3) core needs of the event. The welcoming guest and speeches at the walimahan, sunatan, and aqiqoh are alike. For Javanese, people call welcoming guests as pambagiharjã. For the speeches, what is different is the content. The procedures and ethics in a speech are the same. The core needs of walimahan, sunatan, and aqiqoh contain two agendas, namely ritual and entertainment. The format of the ritual between walimahan, sunatan, and aqiqoh is different because each has a specific format and their respective meanings. The aim of Campursari music in those gathering events is to fulfil the needs in accompanying the agenda, (1) welcoming the guest, (2) speeches, and (3) core needs of the event. Therefore, there is music to accompany the welcoming guests, speeches, and music for the core needs of the event. Javanese people call the music for welcoming guests as Pambagiharjã music. This music creation is to meet the needs to express warm hospitality. The making of music for speeches is to

6 The first is the procession of nêmbung, the second is the paningsêtan procession, the third is the kumbakarnan procession, the fourth is the pasang tarub procession, and the fifth is mantu which essence contains ceremonial processions. Each procession includes various ritual which have regular sequences. 7 Circumcision is the removal of the foreskin from the penis. The procedure is the opening of the culub, removal of adhesion, and separation of the foreskin from the gland. After that, cut off the foreskin.

First Author et.al (Title of paper shortly) 4 International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx enliven every speech at the event. The creation of ritual music is to enliven the ritual atmosphere. Entertainment Music is anything type of music that gives enjoyment. 3.1. Pambagiharjã Music Pambagiharjã is an expression of respect that can use two ways. The first is the verbal way, uses words through speech. The second is symbolic. The remarks were speeches from various parties who had the opportunity to represent the invitees to express their respect for the guests. The deep respect in a verbal way is speeches containing words of thank, welcome, and apologies if there are things that are not pleasing. The deep respect in symbolic can use visual or auditive symbols. Expressing visual symbols is to enhance the venue. For the auditive symbol, the expression is to use musical sounds. In Javanese gamelan music culture, the names of compositions in pambagiharjã music reflect the intentions, which symbolically mean humility, respect, and piety. In the music of Campursari, the name of compositions lack symbolic attention or meaning. The music of Pambagiharjã in Campursari music, what is important is the expression of joy as a form of respect. First notation or notation 1 is an example of a nameless gêndhing, which is often for Pambagiharjã.

Buka: . j.6 j65 j6! j@# j!@ j65 3 j.5 6 j.3 5 ! j56 j32 g1

[ . j.6 j56 ! . j.5 j6k32 1 . j.y j12 3 6 5 3 2

. j.1 j23 5 . j.6 53j 2 . j.1 j23 5 5 # @ !

. j.6 j56 ! . j.5 j6k32 1 . j.y j12 3 6 5 3 2

. j.5 j65 j6! j@# j!@ j65 3 j.5 6 j.3 5 6 3 2 g1 ] Notation 1 Unnamed Gêndhing

How to play the composition written in notation 1, the keyboard plays the buka part. All instruments follow after the keyboard plays reach the gong (the end) of buka. The keyboard, dêmung, and saron pênêrus play the notation 1, while the two saron barung play interlocking. Drumming style or kêndhangan uses traditional music phrases in the Sundanese style. The presentation of this song is instrumental, without accompanying vocal offerings. The musicians in the Campursari Group who presented this composition did not know the name and source of this composition. However, it is not an obstacle for them to present it. For them, names are not necessary. In Campursari, to present something without tracing the source is not a big problem. Lack of clarity or lack of understanding, especially about the music they play, will not cause the severe. However, it does not mean that music has no source. They worked on compositions based on songs by Mang Koko (Koko Koswara), entitled Karatagan Pahlawan, Laras Pélog, Pathêt Nêm, Irama Kêring. The song of Karatagan Pahlawan’s notation is in second notation or notation 2.

_. j05 j56 ! _ . j05 j6kz3c2 1 _ . j0y j12 3 _ 6 5 3 2 _ Teuhon cewang sumoreang Tekadna Pah -la - wan bangsa Si-na tri - a dana laga Bela bangsa jeung na – ga – ra

_ . j01 j23 5 _ . j06 j53 2 _ . j01 j23 5 _ 6 # jz@c! ! _ Candu mundur pantrang mulang munmaksudThe ta following – can laknotation – sa is – on na the next page. Di-ba-reng-an te-kad su-ci Berjuang keur lemah ca - i

_ . j05 j56 ! _ First. j.5 Author j6kz3c2 et.al 1(Title _ of paper. j.1 shortly j23 ) 5 _ j35 6 ! @ _ Berjuang keur lemah ca-i La-li ra-bi tur tegang pa-ti Teu ngingetkeun ka di-ri-na Asal nagri bangsa wa-lu-ya

_ . j.6 j65 j6! _ j@# j!@ j65 3 _ j.5 6 j.3 5 _ ! j56 j32 1 _ Taya basamentapamulangtarima I-khlas ri-dho keur korban merdika Kadar jembar raharja mukti wibawa Gembleng tujuan pahlawan bangsa (Koswara, 1989, pp. 38–39) Notation 2 The Song of Karatagan Pahlawan, Laras Pélog, Pathêt Nêm, Irama Kêring _. j05 j56 ! _ . j05 j6kz3c2 1 _ . j0y j12 3 _ 6 5 3 2 _ ISSN - International Journal of Visual and Performing Arts 5 Teuhon cewang Vol. sumoreang1, No. 1, Mey 201 9 , pp. xx Tekadna-xx Pah -la - wan bangsa Si-na tri - a dana laga Bela bangsa jeung na – ga – ra

_ . j01 j23 5 _ . j06 j53 2 _ . j01 j23 5 _ 6 # jz@c! ! _ Candu mundur pantrang mulang munmaksud ta – can lak – sa – na Di-ba-reng-an te-kad su-ci Berjuang keur lemah ca - i

_ . j05 j56 ! _ . j.5 j6kz3c2 1 _ . j.1 j23 5 _ j35 6 ! @ _ Berjuang keur lemah ca-i La-li ra-bi tur tegang pa-ti Teu ngingetkeun ka di-ri-na Asal nagri bangsa wa-lu-ya

In Campursari music, songs in first and second notations are usually present at the beginning of each event. The presentation is relatively long and repetitive. That repetition is intentional, to wait for the full guest chair. After many guest chairs occupied, gêndhing stopped, followed by next gêndhing. They then presented the second song, entitled Kidung Panulak. The Song of Kidung Panulak is in notation 3. Buka (equal with introduction):

1 2 3 5 . 6 . ! . 6 . 5

. ! . 6 . 5 . 3 . 5 . 3 . 2 . g1 Umpak (Equal with Interlude)

[ . . . . 1 2 3 5 . . 5 6 . ! 6 5

. . . . ! 6 5 3 . . 5 3 5 3 2 g1 ] Song (Part to acompany Gerongan)

[ . 3 . 2 . 3 . 5 . 3 . 2 . 3 . g1

. 3 . 2 . 3 . 5 . 3 . 2 . 3 . g1

. 3 . 5 . 6 . 5 . 6 . 3 . 2 . g1 ] Irama Rangkêp

[ 3 5 3 5 6 ! 6 5 ! 6 5 3 5 3 2 g1

3 5 3 5 6 ! 6 5 ! 6 5 3 5 3 2 g1

3 2 1 2 3 5 6 5 3 2 1 2 5 3 2 g1 ]

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GeronganGerongan Notation Notation: :

__ ...... __ 11 22 33 55 __ .. 6. .6 !! __ .. z@z!xx x x c6c6 55 __ Gu Gu-na- na– ne – ne pa pa - - nu – laknu – lak i i- ku - ku Hu Hu Laa Laa illah illah ha il ha - il - lalloh lalloh

__ .. .. !! 66 __ .. 55 .. 33 __ .. z3xz3x x x c5c5 33 __ .. zj2x1xzj2x1x c2c2 11 __ Nge Nge-doh-doh - - ke ke be be - - ba ba – –ya ya pa pa - - ti ti Hu Hu Laa Laa il il - - lah lah ha ha il il - - lalloh lalloh

__ ...... __ 11 22 33 55 __ .. .. 66 !! __ .. z!xz!x x x c6c6 55 __ DeDe--mitmit sese--tantan oo –– rara dodo -- yanyan Hu Hu Laa Laa illah illah ha ha il il - - lal lal – – loh loh

__ .. .. !! 66 __ .. 55 .. 33 __ .. z3xz3x x x c5c5 33 __ .. zj2x1xzj2x1x c2c2 11 __ Jan Jan-mo-mo dur dur we we - - di di mring mring ma ma - mi- mi Hu Hu Laa Laa il il - - l ahlah ha ha il il - - lal lal – – loh loh

__ ...... __ 11 yy 11 22 __ .. z2xz2x x x c3c3 11 __ .. jz2x1xjz2x1x cycy tt __ Sa Sa– rap – rap sa - sawan-wan ba ba - li - li nda nda - lan - lan Mu Mu-hammadar-hammadar Ro Ro - sul - sul - - il illah- lah

__ ...... __ tt yy 11 22 __ .. 55 .. 33 __ .. zj2x1xzj2x1x c2c2 11 __ Ko Ko-lo-lo ka ka-la-la - - ne ne su su - - ming ming – – kir kir Njeng Njeng Na Na-bi-bi Na Na - - ya ya - - ka ka - - ning ning rat rat Notation 3 Notation 3 The Song of Kidung Panulak, Laras Pélog, Pathêt Nem The Song of Kidung Panulak, Laras Pélog, Pathêt Nem

Gêndhing in notation 3, although presented repeatedly, is usually not so long. The presentation uses complete instruments and vocals. The dominant instrument carrying the song’s melody is the keyboard. The démung and saron pênêrus instruments present balungan melodies. The intended balungan melody is the melody in the interlude, in the song (the part to accompany the gerongan), and in the melody of irama rangkêp. Two of the saron barung usually play interlocking since the opening until suwuk or stop of the gêndhing. The serving of drums uses the Sundanese style. After suwuk (stop), continued with the next gêndhing. The next gêndhing, as well as the first, is also unnamed. The presentation is instrumental and serves to accompany the opening speech as a greeting for audiences. The opening speech presentation is usually accompanied by gêndhing in notation 4.

Buka: kendhang . . . I . I P GB

[ . . . 1 . 2 . 1 . 2 . 1 . 2 . g1

. . . 1 . 2 . 1 . 2 . 1 . 2 . g1

The following notation is on the next page.

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. 2 3 . 1 2 3 . 5 3 2 3 2 1 2 g1

5 6 7 6 5 4 2 1 5 6 7 6 5 4 2 g1

2 3 . 1 5 3 2 1 2 3 . 1 5 3 2 g1 ] Notation 4 Unnamed Gêndhing

Along with the presentation of the unnamed gêndhing (in notation 4), a master of ceremony made a speech to start the event. The intonation of the speech is similar to poetry reading. The gêndhing above is a new incarnation or modification of the gêndhing of Dênggung. The balungan notation of the gêndhing of Dênggung is in notation 5.

Buka: 5 6 7 6 5 4 2 1

2 3 . 1 5 3 2 1 2 3 . 1 5 3 2 g1

[ . . . 1 . 5 . 1 . 5 . 1 . 5 . g1

. . . 1 . 5 . 1 . 5 . 1 . 5 . g1

. 2 3 . 1 2 3 . 5 3 2 3 2 1 2 g1

5 6 7 6 5 4 2 1 5 6 7 6 5 4 2 g1

2 3 . 1 5 3 2 1 2 3 . 1 5 3 2 g1 ] Notation 5 Dênggung, Lancaran Laras Pélog Pathêt Limo

By seeing the gêndhing of Dênggung in full, it appears clear that the unnamed gêndhing in notation 4 is essentially the gêndhing of Dênggung. The composer has modified the first and second rows. So, the balungan arrangement of the gêndhing of Dênggung is as follows.

. . . 1 . 5 . 1 . 5 . 1 . 5 . g1

Whereas in the gêndhing of notation 4 (four) is as follows.

. . . 1 . 2 . 1 . 2 . 1 . 2 . g1

Meanwhile, the balungan arrangement in the third, fourth, fifth, and sixth row of the unnamed géndhing and the géndhing of Dênggung is apparent that the two are entirely the same. That means the arrangement of the first and second rows of the géndhing of Dênggung balungan has changed.

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The changes are in the first and second lines of the unnamed géndhing. To see changes see in notation 4 (four). After the opening speech ended, the unnamed géndhing then stopped. Next, they sang the song of Sholawat Badar in the Kyai Kanjeng version. The notation of Sholawat Badar in the Kyai Kanjeng version as in notation 6, in the pelog scale.

Buka: keyboard ...... 6 5 4 3 2 3 2 1

[ . 4 . 1 . 4 . 1 . 4 . 1 . 4 . 5

. 4 . 3 . 4 . 2 . 4 . 3 . 2 . 1 ]

Note: This notation is not finished yet, the following notation can be seen on the next page.

Vocal Notation: A.

_ j.1 4 4 1 _ j.1 4 4 1_ j.4 4 4 1 _1 zj3c4 zj3c4 5 _ Sho-la – tul-lah sa – lam-mullah ‘A – la - to - ha Ro- sul - lil – lah

_ j.4 jz4c3 zj4c5 3_ j.3 jz3c2 zj3c4 2 _ j.1 2 j.1 2 _j.1 jz2c4 jz3c2 1 _ Sho-la – tul-lah sa – lam-mullah ‘A – la yaasin hab-bi-billah

_ 6 5 4 3 _ 2 zj3c4 zj3c2 1 _ j.1 4 4 1 _j.1 4 4 1 _ ‘A – la yaasin hab-bi-billah Sho-la – tul-lah sa – lam-mullah

_ j.4 4 4 1_ 1 zj3c4 zj3c4 5 _ j.4 jz4c3 zj4c5 3 _j.3 jz3c2 zj3c4 2 _ ‘A – la - to - ha Rosul - il – lah Sho-la – tul-lah sa – lam-mullah

_ jj.1 2 j.1 2_ j.1 2c4jz jz3c2 1 _ 6 5 4 3 _2 zj3c4 zj3c2 1 _ ‘A – la yaasin hab-bi-billah ‘A – la yaasin hab-bi - billah

_ . . . . _ j.6 6 6 6 _ j.6 6 6 6 _ j.6 6 6 @ _ Tawa-sal- na bi bis-millah Wa bil ha – dii

_ j.@ ! 6 5 _ j.4 jz4c3 j45 3 _ j.3 3 zj4c3 2 _ j.1 2 j.1 2 _ Ro-sul- lil-lah Wa kullimuja hiddil - lillah Bi ah –lil ba

_ j.1 jz2c4 jz3c2 1 _ 6 5 4 3 _ 2 zj3c4 zj3c2 1 _ dri Yaa Allah Bi ah-lil ba - dri Yaa Allah Notation 6 The Song of Sholawat Badar in Kyai Kanjeng Version The song Sholawat Badar is a marker of the end of the pambagiharjã session. For the next event, enter the speech session.

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3.2. The Speech Music Every gathering event in Javanese society, there are always speeches. In one event usually consists of several speeches. The number of people who give speeches depends on the will of shohibbul hajat8. If there is no speech from the party considered necessary by shohibul hajat, there is at least one speech. This speech is always in various gathering events. This speech is welcome, and thanks to the attendees from the shohibbul hajat. This speech is called pambagiharjã speech. This speech is usually done by others to represent shohibbul hajat. Campursari musicians always accompany speeches with certain gêndhing. If there is only one speech representing shohibul hajat, the musician presents the music to accompany the person whose speech goes to the pulpit as a tribute. Likewise, when the speech was over, the person carrying out the speech returned to his seat, also respected with musical accompaniment. The music to accompany the person giving a speech to the pulpit is gêndhing Kêbogiro. Skeleton of the gêndhing Kêbogiro is in notation 7.

Bukã: . . . . 4 5 6 ! 6 @ 6 ! 6 5 6 g4

[ . 5 . 4 . 2 . 1 . 2 . 1 . 5 . g4

. 5 . 4 . 2 . 1 . 2 . 1 . 5 . g4

. 5 . 4 . 5 . 6 . 5 . 6 . 5 . g4

. 6 . 5 . 2 . 1 . 2 . 1 . 5 . g4 ] f Notation 7 Kêbogiro, Laras Pélog Pathêt Lima

The gêndhing of Kêbogiro, laras pélog pathêt lima in notation 6 is a modification of the gêndhing of Kebogiro, laras pélog pathêt barang in notation 8.

Bukã: . . . . 5 6 7 @ 7 # 7 @ 7 6 7 g5

[ . 6 . 5 . 3 . 2 . 3 . 2 . 6 . g5

. 6 . 5 . 3 . 2 . 3 . 2 . 6 . g5

. 6 . 5 . 6 . 7 . 6 . 7 . 6 . g5

. 7 . 6 . 3 . 2 . 3 . 2 . 6 . g5 ] f Notation 8 Kêbogiro, Laras Pélog Pathêt Barang

8 Shohibul hajat is a person who has the will to hold a gathering for the certain purposes.

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Another gêndhing that serves to accompany individuals who make speeches is Lancaran Udan Mas, laras pélog pathet lima. The skeleton of the gêndhing is in notation 9.

Bukã: . 6 6 6 4 5 6 ! ! 6 5 4 5 6 5 g4

[ 5 4 2 1 5 4 2 1 . 2 1 2 5 4 2 g!

5 4 2 1 5 4 2 1 . 2 1 2 5 4 2 g!

6 4 5 6 4 5 6 ! . 6 5 4 5 6 5 g4

6 4 5 6 4 5 6 ! . 6 5 4 5 6 5 g4 ] f Notation 9 Udan Mas, Lancaran, Laras Pélog Pathêt Lima

The gêndhing of Udan Mas, laras pélog pathêt lima in notation 9 is a modification of the gêndhing of Udan Mas, laras pélog pathêt barang in notation 10.

Bukã: . 7 7 7 5 6 7 @ . 7 6 5 6 7 6 g5

[ 6 5 3 2 6 5 3 2 . 3 2 3 6 5 3 g2

6 5 3 2 6 5 3 2 . 3 2 3 6 5 3 g2

7 5 6 7 5 6 7 @ . 7 6 5 6 7 6 g5

7 5 6 7 5 6 7 @ . 7 6 5 6 7 6 g5 ] f Notation 10 Udan Mas, Lancaran, Laras Pélog, Pathêt Barang

3.3. The Ritual Music Rituals are activities that traditionally relate to rites and ceremonies. Ritual means a symbol of social and religious status. So, rituality is a reflection of the relative position of the person carrying out the ritual, related to beliefs, abilities, and lifestyle. Ritual is a manifestation of the principle of a phenomenon related to the orientation of beliefs and religious teachings so that the attitude of religious adherents is concerned with occult matters (Koentjaraningrat, 1993, pp. 11–48). In walimahan, there are three kinds of processions. First, the procession is the appearance of the bride's journey to the altar. The second, the procession is the arrival of the groom to the bride’s family home. The third, the procession is têmu pêngantin or panggih. To create a solemn atmosphere of three types of processions, musicians present two characters of different musical compositions. The sholawat poem and its music, entitled Tola'al Badru, accompanied the first and second processions. The notation of Tola’al Badru as in notation 11.

First Author et.al (Title of paper shortly) ISSN - International Journal of Visual and Performing Arts 11 Vol. 1, No. 1, Mey 2019, pp. xx-xx

_ . j5jj 6 _ 7 jz!jx c7 _ j6j ! jz7jx c6 _ 5 j5j 6 _ 7 jz!jx c7 _ j6j ! 7 _ To-la’ al ba - dru ‘a - lai - na Minsta - nii yat - til wadaa’ A-yu – haal mab - ’uutsu fii - na Ji’ – ta – bil am - ril mutho

_ . j5j 6 _ 7 jz!jx c7 _ j6j ! jz7jx c6 _ 5 j5j 6 _ 7 zj6jx c5 _ j3j 6 5 _ Wa -ja - ba syu - kru ‘a – lai - na Maada - ‘aa lil - laa-hi daa’ An-ta ghou-tsu - na ja – mii’ an Yaa mu-jaammal a-thi-baa’

_ . j6j 6 _ 6 j60 _ j6j 6 6 _ 2 j5j 6 _ 7 jz!jx c7 _ j6j ! 7 _ Kun-tsa-fii - an yaa ha-bii - bii Yau-ma hats- riw waj-ti- maa’

_ . j5j 6 _ 7 jz!jx c7 _ j6j ! jz7jx c6 _ 5 j5j 6 _ 7 zj6jx c5 _ j3j 6 5 _ Robbanaa shol- li ‘a - laa man Halla – fii khoi - ril bi – qoo’

_ . j5jj 6 _ 7 jz!jx c7 _ j6j ! jz7jx c6 _ 5 j5j 6 _ 7 jz!jx c7 _ j6j ! 7 _ Fashbi-liis sit - tro ‘a – lai - na Wakfi – naa syar-roon-ni-zaa’ Washo -la - tullah - hi da - waa – maa Lil na – bii tsas - sii ni – qoo’

_ . j5j 6 _ 7 jz!jx c7 _ j6j ! jz7jx c6 _ 5 j5j 6 _ 7 zj6jx c5 _ j3j 6 5 _ Wa –a-ghits naa - fii bal-laa - taa Yaa mu-ghii tsan – kulla – daa’ Wa-ka – dhaa A - li wa-shoh - baa Maa sa’aa lil-laa - hi - saa’ Notation 11 Tola’al Badru

Tola’al Badru also functions as an accompanist to the aqiqoh ceremony, especially in the procession of hair cutting. In this procession, parents and elders cut the baby's hair respected in aqiqoh. To accompany the procession of têmu pêngantin or panggih, musicians go along with music that is under the nature of Islamic culture, which presents the song of Sholawat with Asyoqol text. The notation of Sholawat in Asyoqol text as in notation 12.

j5j 5 _ jz5xj kx6c5 j45 _ j.7 kz6xj7kxx6c5 _ 4 j76 _ z5xj xjk.c4 kz3jc2k3. _ Yaa Na - bi salam ‘a - lai - ka Yaa Ro - sul salam Qol badru ‘a - lai - na fakh-ta - fat minhul

_ j.j 4 kz5x6xk7c6 _ jz5xj xk.c4 j4j 4 _ 4 j4j 4 _ j.j 5 kz3jx2xjx xk3c2 _ ‘a – lai - ka Yaa Habib salaam ‘a – lai bu-duu - ru mitsla hus - nik maa ro - ai

x x x x Ix x x x x x x x The next notation is on the next page _ 1 j4j j kz4kx c3_ 4 7 _ j6j ! jkz7xj5xk6c5 _ 5 j5j j j 5 _ ka sho - la - waa - tul - looh ‘a – lai - ka Asy - ro – First Author et.al (Title of paper shortly) na qoth-thu yaa waj-has su – ruu - ri Yaa Na j5j 5 _ jz5xj kx6c5 j45 _ j.7 kz6xj7kxx6c5 _ 4 j76 _ z5xj xjk.c4 kz3jc2k3. _ Yaa Na - bi salam ‘a - lai - ka Yaa Ro - sul salam Qol badru ‘a - lai - na fakh-ta - fat minhul

12 _ j.j 4 kz5x6xk7c6Internation _ jz5xjal Journalxk.c4 j4j of 4 Visual _ 4 and Per formingj4j 4 _ Arts j.j 5 kz3jx2xjx xk3c2 _ ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx ‘a – lai - ka Yaa Habib salaam ‘a – lai bu-duu - ru mitsla hus - nik maa ro - ai

x x x x Ix x x x x x x x

_ 1 j4j j kz4kx c3_ 4 7 _ j6j ! jkz7xj5xk6c5 _ 5 j5j j j 5 _ ka sho - la - waa - tul - looh ‘a – lai - ka Asy - ro – na qoth-thu yaa waj-has su – ruu - ri Yaa Na xxxxxxxxxxxxxxxxxxxxxxxx x x x x IIx x x x x x xxxxxxxxxxxxxxxxxxxxxxxx x x x x IIx x x x x x

_ 5 j!j j j ! _ _ 5 j!j j j ! _ ri An – ta ri An – ta

_ zj5xj xk6c7 ! _j!j j kz!c7kz!c7 kz6xj7xk6c5kz6xj7xk6c5 __ 4 j7jj7j kz7c6kz7c6 _ 7 7 _ syam - sun an-ta ba - drun an-ta nuur- run

_ j!j jz!c7 kz6xj7xk6c5 _ zj5xj kx.c4 j4j 4 _ 4 j4j 4 _ j.j 5 kz3jx2xjx xk3c2 _ fau-qo nuur – rin an-ta ik - sii – ru wa - ghoo

_ 1 j4j j kz4kx c3_ 4 7 _ j6jj6j !! jkz7xj5xk6c5jkz7xj5xk6c5 _ 5 j5j j j 5 _ li an – ta mish - baahush shu - duu – ri Ya Naa Notation 12 Sholawat in Asyroqol Text Sholawat in Asyroqol Text

3.4. The Entertainment Music There is a new phenomenon that shows that ritual activities still set aside opportunities for fun. The presentation of Campursari music in ritual activities is a necessity because the nature of Campursari music is entertainment music. Campursari music lovers are diverse. So, entertainment music in Campursari is undoubtedly also a variety of genres that are the basis. There are at least four types of music. First is music with gêndhing type, second is music with popular song type, third is folk song type, and fourth is pesantren songs type.

3.4.1. Music with Gêndhing Type Gêndhing is a musical composition, the embodiment of gamelan music culture in Javanese, Sundanese, and Balinese gamelan. Gamelan musician’s interpretation of the skeleton of gêndhing forms the composition of the gêndhing. In practice, musicians attach melodic patterns or musical phrases under the framework of gêndhing. The melodic pattern or musical phrase has a function as a vocabulary to interpret and apply the results of interpretation. Musical sounds as a result of the whole interpretation performance by gamelan musicians are gêndhing. The skeleton or framework of gêndhing is an abstraction of musical depth felt by gamelan musicians (Sumarsam, 2002, p. 41). The skeleton of gêndhing is a melodic arrangement that is abstract, raw ideas, and not entirely musical. Gamelan musicians turn raw ideas that are not yet wholly musical into musical expressions that cause good musical sounds. Gamelan musicians then perform artistic acts, expressing themselves by interpreting the skeleton of gêndhing. The application of interpretation uses the treatment instrument to the skeleton of gêndhing. Cultivation uses instruments to form musical constructs that involve (1) treatment instruments, (2) structural instruments, and (3) skeleton instruments. One example of music in gêndhing type is the presentation of gêndhing “Niyat” begins with the singing of Bãwã Sêkar Mocopat Pangkur 1. The notation of Bãwã Sêkar Mocopat Pangkur 1 next to gêndhing Niyat, Laras Sléndro, Pathêt Sanga as in notation 13. The presentation of Bãwã Sêkar Mocopat Pangkur is like the presentation of

First Author et.al (Title of paper shortly) ISSN - International Journal of Visual and Performing Arts 13 Vol. 1, No. 1, Mey 2019, pp. xx-xx plainsong in the Gregorian chant. In Gregorian chant, a soloist sings it to a non-metric rhythm. The difference is, Gregorian chant often functions to sing psalms with responsorial and antiphonal methods. In the responsorial method, solo singers sing a series of verses, each solo singer finishes singing a verse, then followed by a response from the choir with the same melody and rhythm as the singing of the solo singer. In the antiphonal method, soloists and choirs take turns singing verses, while in Bãwã Sêkar Mocopat Pangkur soloist singing independently without a choir to follow.

11 22 33 55 55 55 5656 4.54.5 YènYèn si si rã rã wis wis dar dar - - bé bé ni ni - - yat yat

55 55 5.65.6 4.54.5 11 1.y1.y tt 55 55 5.35.3 2.12.12.12.1 PaPa--nêmnêm – – bah bah – – mu mu ha ha - - yu yu--wawa kongsi kongsi la la - - li li

!! !! !.@!.@ 7.!7.! @@ ## ## @.!@.!@.!@.! SaSa – – ra ra – – na na - - né né i’ i’ - - sya sya su su - - buh buh

44 44 44 44 4.34.3 4.54.5 55 6.!.@!6.56.!.@!6.5 NoNo - - ra ra kè kè - - ri ri lu lu - - hur hur a a - - sar sar

33 2.12.1 11 11 44 44 44 4.54.5 33 2.12.1 5.35.3 2.12.12.12.1 TlaTla - - tèn tèn - - ã ã - - nã nã ang ang--gongon - -mumu nin nin – – dak dak - - ké ké su su - - jud jud

yy 11 22 22 22 2.32.3 1.21.2 MaghribMaghrib a a - - ja ja kli kli--watwat - - an an

11 11 1.51.5 55 33 2.12.1 5.35.3 2.12.12.12.1 MaMa - - nêm nêm - - bah bah ping ping li li - - mã mã yêk yêk - - ti ti

SkeletonSkeleton Notation: Notation:

[[ .. .. 22 11 66 55 3>3> n5n5 .. .. 55 p1p1 66 55 33 g2g2

.. .. 22 11 66 55 33 n5n5 .. .. 55 p1p1 22 11 22 g1g1

.. .. !! 66 55 66 55 n3n3 .. .. 11 p5p5 11 55 22 g1g1

.. .. 22 11 66 55 33 n5n5 .. .. 55 p1p1 22 55 22 g1g1 ]] ff

Gerongan Notation:

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 43j j.4 5 _ No-ra la - li panyuwuné mring hywang widi

_ . . . . _ j.4 5 j56 1 _ j.3 2 j.k15 5 _ j.2 2 13j 2 _ Kudu srê- gêp panyuwunné ri – na wê-ngi The following notation is on the next page. _ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 43j j.4 5 _ Dimèn têntrêm uripé ing a – lam donya First Author et.al (Title of paper shortly) _ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 j2k.1 j.u 1_ Sholat fardu ka-ping li-ma ndang tindak –na Gerongan Notation:

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 43j j.4 5 _ No-ra la - li panyuwuné mring hywang widi 14 International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx _ . . . . _ j.4 5 j56 1 _ j.3 2 j.k15 5 _ j.2 2 13j 2 _ Kudu srê- gêp panyuwunné ri – na wê-ngi

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 43j j.4 5 _ Dimèn têntrêm uripé ing a – lam donya

_ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 j2k.1 j.u 1_ _ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 j2k.1j2k.1 j.uj.u 1_1_ Sholat fardu ka-ping li-ma ndang tindak –na Sholat fardu ka-ping li-ma ndang tindak –na Sholat fardu ka-ping li-ma ndang tindak –na

_ . . . . _ 6 6 j!7 6 _ j.! 7 j.6 6 _ j.6 6 j.k43 3 _ Amê - muji pêr-lu nadyan ta-ngi tu-ru Amê - muji pêr-lu nadyan ta-ngi tu-ru

_ . . . . _ ! ! j.6 5 _ j.1 1 15j 5 _ j.3 j2k.1j2k.1 j.uj.u 1_1_ Da-tan lé-nã ka-rêbèn mang- gih ra - ha-yu Da-tan lé-nã ka-rêbèn mang- gih ra - ha-yu

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 43j j.4j.4 55 __ Ma-ca Qur’-an tuntunané pa-ra san-tri Ma-ca Qur’-an tuntunané pa-ra san-tri

_ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 2k.1j j.uj.u 1_1_ ff Man-fa-at-é bi-sa ngê-doh - kên bi – la – hi Notation 13 Notation 13 Bãwã Sêkar Mocopat Pangkur 1 next to Niyat, Laras Sléndro, Pathêt Sanga Bãwã Sêkar Mocopat Pangkur 1 next to Niyat, Laras Sléndro, Pathêt Sanga

Above gêndhing is a modification of the gêndhing of Ngimpi, laras slendro pathet sanga. Bãwã Sêkar Mocopat Pangkur 1 also a modification of the tembang Bãwã Sêkar Mocopat Pangkur 2. Observation of both Bãwã Sêkar Mocopat Pangkur shows that the number of lines is no difference at all. Observation to the gêndhing of Niyat, laras sléndro, pathêt sanga, compared with the gêndhing of Ngimpi, laras slendro pathet sanga also same. The notation and composition show that the melody construct is the same. The layout of the structural instruments is also the same. The difference that stands out is in the poetic text. The text of Bãwã Sêkar Mocopat Pangkur 1 and the text on gêndhing Niyat, laras slendro pathet sanga is a solicitation or religious appeal in straightforward language. Text on Bãwã Sêkar Mocopat Pangkur 2 and the gêndhing of Ngimpi, laras slendro pathet is a romantic expression with a sophisticated and beautiful figurative language that reflects works of music with quite high literary quality. The notation of Bãwã Sêkar Mocopat Pangkur 2 next to the gêndhing of Ngimpi, Laras Sléndro, Pathêt Sanga as in notation 14.

1 2 3 5 5 5 56 4.5 Ngum-bã-rã ing a-wang a - wang

5 5 5.6 4.5 1 1.y t 5 5 5.3 2.12.1 A-ngê - la - ngut bê - ba-san tanpã tê - pi

! ! !.@ 7.! @ # # @.!@.! Nê -ra -bas ing mé-gã mên - dhung

4 4 4 4.3 4.5 5 6.!.@!6.5 Mi-bêr ngi - dê - ri ja - gat

3 2.1 1 1 4 4 4 4.5 3 2.1 5.3 2.12.1 Ngu – lan - dã - rã nglêm-bã - rã ngunggahi gu – nung First Author et.al (Title of paper shortly) y 1 2 2 2 2 2.3 1.2 Kê-tung-kul ngumbar ga-gas - an

1 1 1.5 5 3 2.1 5.3 2.12.1 Sa – tê - mah gi - nã - wã ngim – pi 1 2 3 5 5 5 56 4.5 Ngum-bã-rã ing a-wang a - wang

5 5 5.6 4.5 1 1.y t 5 5 5.3 2.12.1 A-ngê - la - ngut bê - ba-san tanpã tê - pi

! ! !.@ 7.! @ # # @.!@.! Nê -ra -bas ing mé-gã mên - dhung

ISSN4 - 4 4 4.3 4.5 International5 6.!.@!6.5 Journal of Visual and Performing Arts 15 Mi-bêr ngi - dê - ri ja - Vol.gat 1, No. 1, Mey 2019, pp. xx-xx

3 2.1 1 1 4 4 4 4.5 3 2.1 5.3 2.12.1 Ngu – lan - dã - rã nglêm-bã - rã ngunggahi gu – nung

y 1 2 2 2 2 2.3 1.2 Kê-tung-kul ngumbar ga-gas - an

1 1 1.5 5 3 2.1 5.3 2.12.1 Sa – tê - mah gi - nã - wã ngim – pi Sa – tê - mah gi - nã - wã ngim – pi

Skeleton Notation:

[ . . 2 1 6 5 3> n5 . . 5 p1 6 5 3 g2

. . 2 1 6 5 3 n5 . . 5 p1 2 1 2 g1

. . ! 6 5 6 5 n3 . . 1 p5 1 5 2 g1

. . 2 1 6 5 3 n5 . . 5 p1 2 5 2 g1 ] f

Gerongan Notation:

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 j43 j.4 5 _ Sri-pat sri-pit lèmbèhané mêrak kê – simpir

_ . . . . _ j.4 5 j56 1 _ j.3 2 j.k15 5 _ j.2 2 13j 2 _ Gandhês lu-wês wi-ra - ga – né ang-lam-lam-i

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 j43 j.4 5 _ Sè-dhêt singsêt bêsus a-nga - di bu – sã - nã

_ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 j2k.1 j.u 1_ Dasar a-yu mak-sih kê-nyã tan ku – ci -wã

_ . . . . _ 6 6 j!7 6 _ j.! 7 j.6 6 _ j.6 6 j.k43 3 _ Tak ca – kêt-i a-duh mèsêm sêpêt madu

_ . . . . _ ! ! j.6 5 _ j.1 1 j15 5 _ j.3 j2k.1 j.u 1_ O-ra srãntã tak gandhèng ma-lah gu - mu-yu

_ . . . . _ j.! @ j.7 ! _ . j.@ j!6 5 _ j.4 j43 j.4 5 _ Ka-ton bungah kênyã kang pin – dhã hap-sa-ri

_ . . . . _ j.4 5 j.6 1 _ j.3 2 j.k15 5 _ j.3 2k.1j j.u 1_ f. Ku-ci-wa-né kabèh ma - u amung ngimpi Notation 14

Pangkur, Bãwã Sêkar Mocopat 2 next to Ngimpi, Laras Sléndro, Pathêt Sanga

First Author et.al (Title of paper shortly) 16 International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx

3.4.2. Music with Popular Song Type Popular songs are a well-known song in the community as part of mass culture (Mack, 1995, p. 33; Sunarto, 1987, pp. 18–21, 1994, pp. 16–20). Popular songs have the characteristic of being liked by the public. The people often imitated this kind of song because it has a simple grammatical structure. The characteristics of this type of song are unity with (1) publicity in the electronic mass media, cassettes, and commercial CDs or VCDs, (2) creation based on commercial considerations, (3) poems tend to lead to basic emotions, and (4) simple melodic phrases. The diatonic scale is the basis for making popular songs. Cultivation and presentation using a Western music system. An easily recognizable feature is the cultivation of songs in a homophonic manner, namely the cultivation of a chord-based system so that the harmony system plays an essential role in shaping musical compositions (Numao, Kobayashi, & Sakaniwa, 1997, p. 268). An example of this type is the song of Ya Nabi Salam. This song is a modification of the song of Cinta Tak Terpisahkani by Dikin. The notation of Cinta Tak Terpisahkani as in notation 15.

The following notation is on the next page.

First Author et.al (Title of paper shortly) ISSN - International Journal of Visual and Performing Arts 17 Vol. 1, No. 1, Mey 2019, pp. xx-xx

Notation 15 Cinta Tak Terpisahkan by Dikin

Campursari musicians consider that the song Cinta Tak Terpisahkan is very entertaining. They believe that presenting the song of Cinta Tak Terpisahkan in the context of Islamic rituals is suitable. Presenting this song in the context of Islamic rituals for entertainment purposes is necessary. However, the poetry of the song for entertainment music must be under the context. The song Cinta Tak Terpisahkan does not contain messages that nuanced Islamic spirituality. The song is expressions containing basic human emotions with an intensity that does not touch depth. For that reason, there needs to be an adjustment to the Cinta Tak Terpisahkan song with Islamic nuances. The way to make adjustments is to change the contents of poetry, from expressions of love of two opposite sex to religious expressions. The religious impression of Islam is evident in Arabic poetry. The lyrics are like songs that grow and develop in Pesantren9. Most Muslims often hear this poem and meet in various places, because of the nature of expression that is common to Muslims. The poem is already in the book of Maj’mu Attulmawalid (Nawawi, n.d., p. 62). The notation of Cinta Tak Terpisahkani as in notation 16.

9 Pesantren is Islamic boarding schools, and the traditional educational institutions that educate students by living together and studying in the dormitories, under the guidance of the teacher called the Kyai. Students at the pesantren are called Santri. They live in a complex that provides a mosque for worship, space for learning, and other religious activities. This complex arrangement is such that it is easy to supervise the entry and exit of students according to applicable regulations.

First Author et.al (Title of paper shortly) 18 International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx

Notation 16 Ya Nabi Salam an adaptation of the song of Cinta Tak Terpisahkan Ya Nabi Salam an adaptation of the song of Cinta Tak Terpisahkan

First Author et.al (Title of paper shortly) ISSN - International Journal of Visual and Performing Arts 19 Vol. 1, No. 1, Mey 2019, pp. xx-xx

4. Conclusion Adaptation is a manifestation of high awareness to meet the expectations and demands of the situation and the actual conditions. Adaptation is just a method for finding comfort in social relationships. Campursari music is an organism that serves as a means of carrying out social interaction for the sake of comfortability. Musical adaptation to serve the rituals of walimahan, sunatan, and aqiqoh is a strategy of gaining great sympathy in communities that are strong in favour of divine potential. Adaptation among Campursari musicians gave birth to musical syncretism so that (1) pambagiharjo remained Javanese, (2) speeches were strongly impressed with Javanese flavour, (3) the rituals of walimahan, sunatan, and aqiqoh felt a strong sense of Islam, and (4) entertainment gave birth musical colours that satisfy the community of older adults and young people. The performance of Campursari is enough to prove that the musicality of Campursari music in the context of Islamic rituals is productive syncretism. Therefore, adaptation and syncretism are methods and means of building products, which both must co-exist. References [1]. Koentjaraningrat. (1993). Ritus Peralihan Di Indonesia. Jakarta: Balai Pustaka. [2]. Koswara, M.-K. (1989). Bentang Sulintang: Kawih Sunda Lagu-lagu Perjuangan. Bandung: Penerbit Mitra Buana. [3]. Macar, F., Pouthas, V., & Friedman, W. J. (1991). Time, Action and Cognition: Towards Bridging the Gap. Boston: Kluwer Academic Publisher. [4]. Mack, D. (1995). Apresiasi Musik Populer. Yogyakarta: Yayasan Pustaka Nusatama. [5]. Nawawi. (n.d.). Maj’mu Attulmawalid. [6]. Numao, M., Kobayashi, M., & Sakaniwa, K. (1997, August 23). Acquisition of Human Feeling in Music Arrangement. 1. Nagoya, Japan: International Joint Conferences on Artificial Intelligence Organization. [7]. Samekta, P. (2001). Kelahiran Campursari di RRI. [8]. Setiono, B. (2003). Campursari: Nyanyian Jawa dari Postkolonial. In Indentitas dan Poskolonialitas di Indonesia. Yogjakarta: Penerbit Kanisius & Lembaga Studi Realino. [9]. Setyo Utami, L. S. (2015). Teori-teori Adaptasi Antar Budaya. Jurnal Komunikasi, 7(2), 180–197. [10]. Sumarsam, P. (2002). Hayatan Gamelan: Kedalaman Lagu, Teori & Perspektif. Surakarta: STSI Press Surakarta. [11]. Sunarto, B. (1987). Kehidupan Karawitan di Tengah Kebudayaan Massa. Presented at the Diskusi Mahasiswa Akademi Seni Karawitan Indonesia Surakarta, Surakarta. [12]. Sunarto, B. (1994). Karawitan Populer di Jawa Tengah. Seminar Seni Populer. Presented at the Dasa Warsa Pengembangan Kebudayaab oleh Unesco dan Dies Natalis Universitas Indonesia, Depok. [13]. Wakijo, W. (1996, July 15). Kisah Munculnya Campursari di Zaman Kejayaan Radio Republik Indonesia Surakarta.

First Author et.al (Title of paper shortly)